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1731). “The tragedy, which dramatizes the struggle of George Castriot to defend Albania from Turkish conquest, takes as its source the 1721 English translation of Scanderbeg the Great by Anne de La Roche-Guilhem. In the light of the patriot whig opposition to Walpole, Whincop’s dramatic portrait of the Albanian hero whose ‘conqu’ring sword / Oppos’d the torrent of the tyrant’s power’ (Scanderbeg, 16) may well have been intended as a propaganda piece. However, Whincop’s play was never performed...” (Brayne in Oxford DNB). It also contains a “Compleat list of all the English dramatic poets, and of all the plays ever printed” [pp. 87-320] probably compiled by John Mottley, which includes Shakespeare, Milton, Dryden, Marlowe, Jonson, Beaumont, Fletcher, Otway, Waller, Cibber, Addison, Steele, and Garrick. “The Compleat List of All the English Dramatic Poets of 1747, appended to Thomas Whincop’s play Scanderbeg, appears to be by Mottley and is therefore his last known work: in the spirit of a reckoning up, he claims his portions of various collaborations and paternity of theretofore unacknowledged works; the entry on himself he made his own memorial” (J. M. Rigg, rev. Yvonne Noble, Oxford DNB). The list is illustrated with attractive portraits. see full details...
It enjoyed many editions, ‘even becoming a textbook in colonial American colleges’ (Oxford DNB). Johnson’s contributions are the long Preface to volume I and ‘The Vision of Theodore the Hermit of Teneriffe, found in his Cell’ (II, 516–26), a piece which, by Johnson’s own admission, was ‘the best thing he ever wrote’ (Boswell, Life, I, 192). In this copy, the plate featuring six nudes (‘Drawing No. 9’) has been removed and the numbering of the subsequent four Drawings discreetly altered to avoid suspicion. This was evidently done at an early date. One wonders whether the Archbishop had it removed for reasons of propriety. see full details...
It deals with the raw materials, their preparation, manufacturing process and the dyes as well as the styles of hats. The plates, re-engraved for this Spanish edition are detailed depictions of the hatter’s craft with excellent workshop scenes. Like his French counterpart Nollet, Suárez y Nuñez was an enlightened polymath dedicated to the scientific exposition of crafts and industry. His magnum opus was the multi-volume Memorias instructivas, y curiosas: sobre agricultura, comercio, industria, economia, chyimica, botanica, historia natural, &c (1778-1791) translated from pioneering works published across Europe. see full details...
Mayer’s massive collection contains the work of over 40 authors and a valuable bibliographical survey of at least 100 others. It includes tales by Madame d’Aulnoy, Pierre-François Godard de Beauchamps, Charles Duclos, Antoine Hamilton, Antoine Galland, Mademoiselle de La Force, Mademoiselle Leprince de Beaumont, Madame Levesque, Mademoiselle Lheritier, Madame de Lintot, Mademoiselle de Lubert, le chevalier de Mailly, Madame de Murat, Charles Perrault and Jean-Jacques Rousseau. As Marina Warner has pointed out, within this corpus of tales of magic and enchantment, female authors outnumber male authors two-to-one (From the Beast to the Blonde, 1994). Mayer established this canon of wonder tales at the very moment when they were most threatened as a literary form. By 1789, the aristocratic salons which had given birth to this genre, were no longer to be taken for granted and tales of this type almost ceased to be published in France. Le cabinet des fées was Mayer’s attempt to preserve for posterity this remarkable corpus of popular literature. This is also an important illustrated book, with its 120 plates engraved by Pierre-Clément Marillier (1740-1808). These plates are especially interesting for their representation of oriental themes and characters, reflecting the very strong bias within the collection (and within this genre of French literature as a whole) for texts like Galland’s translation of Mille et une nuits set in the Near- and Far East. Marillier’s illustrations certainly reinforce the tendency to depict eastern culture as both alluring but dangerous and, incidentally, furnish the first properly illustrated version of Mille et une nuits (Hensher, ‘Engraving Difference: the representation of the Oriental Other in Marillier’s illustrations to the Mille et une nuits and other contes orientaux in Le Cabinet des fées (1785-89)’, Journal for Eighteenth-Century Studies 31, September 2008). see full details...
![LOUVET DE COUVRAY, [Jean-Baptiste].](/photos/429/main/429.jpg "LOUVET DE COUVRAY, [Jean-Baptiste].")
![[VOLTAIRE, François-Marie Arouet de.]](/photos/433/main/433.jpg "[VOLTAIRE, François-Marie Arouet de.]")
![BO[UCHER], [Juste Nathan] F[rançois].](/photos/561/main/561.jpg "BO[UCHER], [Juste Nathan] F[rançois].")
![[JOHNSON, Samuel, contributor].](/photos/438/main/438.jpg "[JOHNSON, Samuel, contributor].")
![[OLIVIER, Abbé Jean.]](/photos/254/main/254.jpg "[OLIVIER, Abbé Jean.]")
![(THEATRE.) [SMITH, John and Robert SAYER, publishers].](/photos/457/main/457.jpg "(THEATRE.) [SMITH, John and Robert SAYER, publishers].")
